By samotar, 13 July 2021
By samotář, 22 September 2018
By samotar, 20 July 2018
By samotar, 22 November 2017
By miloš vojtěchovský, 24 November 2016
By samotař, 4 October 2016
By , 11 September 2016
By samotař, 31 July 2016
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By Stanislaw, 7 February 2016
By , 25 December 2015
By Michal Kindernay, 21 December 2015
By Samotar, 23 November 2015
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By John Dee, 11 October 2015
By Samotar 10 October 2015, 10 October 2015
Od kláštera Osek na Selesiovu výšinu, k Lomu, Libkovicům, Hrdlovce a zpět/From The Osek Cloister to Lom and back
By Samotar, 27 September 2015
By ll, 25 September 2015
Beyond Time: orka, orka, orka, nečas, nečas, nečas
Orka sounds like the Icelandic word for to cry (plakat) and energy. Háhyrningur is the Icelandic word for orca, meaning high horn in reference to the tall male dorsal fin. Nečas is the Czech word for bad weather, but as well for something timeless. unaffected or unchanged by time; ageless. There is no translation beside of NO-TIME.
The material for this rather improvized radio sketch is composed from the recordings from several places in North Bohemia and Iceland: the Ko-hi-nor brown coal mine, Cloister in Osek, the Bílina open pit mine, Tušimice II. open pit mine, sounds of wind in fences from Seydisfjodur (provided kindly by Krzysztof Topolski) and from the sound archive of the Departement of Phonetics at UCLA.
Examples of pronounciation of vowels, consonants sérhljóðar og samhljóðarin , vokaler og konsonanter in Czech, Icelandic and Norwegian language is meant as the challenge to improve the understanding each other for participants of expeditions to Finnmark, Most Basin and Iceland.
But for You, dear Reader as well!
About the splitting of Norwegian and Icelandic language
Most of the settlers in the 9th century came from Norway, some of whom took female slaves from Ireland on the way. During the first centuries, the same language was spoken in Norway and Iceland. The vocabulary was mostly Norse, with the exception of a several Celtic loan words. Up to the 13th century, the difference between the languages grew and accelerated in the 14th century. Changes appeared in the Icelandic sound system that were not seen in Norwegian and the Norwegian inflections became considerably simpler. There were changes throughout the centuries in both the Icelandic vowel and consonant systems. The vowel system changed in such a way that sounds merged (e.g. i and y, í and ý) and there were various changes to the consonant system. There have also been changes in inflections from the ancient language.
After the uptake of Christianity in the 11th century, the Icelandic vocabulary increased significantly. New words were needed for religious concepts, some of which were taken from Greek or Latin, others from Germanic languages, though most were probably taken as loan words from other Scandinavian languages. For example one could mention kirkja, biskup, prestur, altari, engill, klaustur. The word synd is considered to be a loan word from old Saxon and guðspjall from ancient times.
English influence on Icelandic began significantly during the occupation in the 2nd World War when many Icelanders had daily communications with British and then later, American soldiers. One more factor in the development of Icelandic vocabulary needs to be mentioned and that is the practice of coining words: using the words þyrla, þota, gámur, sími, sjónvarp, tölva for the words helicopter, jet, container, telephone, television, computer.
There is unfortunatelly no influence by Czech language recorded beside the term robot
To improve mutual understanding of artists and curators involved in the ongoing Solitude project, here see as well translation of the Czech anthem into Norwegian (made by Google translate algorithm)
Hvor er mitt hjem,
der er mitt hjem?
Vann brøler over engene,
Pinewoods rasle blant knauser,
i frukthagen med våren blomstre,
paradis på jorden for å vise!
Og det er et vakkert land,
Den tsjekkiske land, mitt hjem,
Den tsjekkiske land, mitt hjem.
Hvar á ég heima,
þar á ég heima?
Vatn öskrar yfir engi,
Pinewoods rustle meðal brekkunum
í Orchard með vor blóma,
Paradise á jörðinni til að skoða!
Og það er fallegt land,
tékk land, heimili mitt,
Tekk land, heimili mitt.
The Icelandic anthem in icelandic
Ó, guð vors lands! Ó, lands vors guð!
Vér lofum þitt heilaga, heilaga nafn!
Úr sólkerfum himnanna hnýta þér krans
þínir herskarar, tímanna safn.
Fyrir þér er einn dagur sem þúsund ár,
og þúsund ár dagur, ei meir;
eitt eilífðar smáblóm með titrandi tár,
sem tilbiður guð sinn og deyr.
Íslands þúsund ár,
Íslands þúsund ár!
eitt eilífðar smáblóm með titrandi tár,
sem tilbiður guð sinn og deyr.
how it sounds in Czech
Bože naší země! Naše země je boží!
Vzdáváme ti díky, tvoje svaté, svaté jméno!
Solární nebe nad tebou plete svůj věnec
a vaši hostitelé sbírají čas.
Pro vás jeden den, tisíc let,
tisíc let a víc; Jeden malý květ věčnosti s chvějící se slzou,
Musíme uctívat Boha a umírat.
Islandu tisíc let,
Islandu tisíc let!
Jeden malý kvítek věčnosti s chvějící se slzou,
Musíme uctívat Boha a umřít.
O Gud av vårt land! Vårt land er Gud!
Vi takker din hellig, hellige navn!
Fra solar himmelen strikke deg en krans
Vertskapet, tid samlingen.
For deg en dag som tusen år,
tusen år og ikke mer;
En liten blomst av evigheten med en dirrende tåre,
Vi tilber Gud og dør.
Islands tusen år,
Islands tusen år!
En liten blomst av evigheten med en dirrende tåre,
Vi tilber Gud og dør.
Into the Abyss of the Lignite Clouds
The focus of the expedition and workshops in the landscape around the Most Basin is on current changes in the heavily industrialized landscape, especially with regard to the loss of historical continuity, the transfers of geological layers and social structures, and current discussions about the abolition of territorial limits, as well as the potential for further degradation and exploitation of the landscape by extensive open cast mining. This expedition is based on the idea that it is necessary, both for art and ecology, to consider the interconnections between people and the landscape, with regard to energy resources, animals, plants, history, and the like. The domains that artists and ecologists share are not simply the realms of the beautiful, the aesthetic, or of pleasure. This thinking spurs a departure from (and rethinking of) the romantic and utilitarian models to which both art and nature have traditionally been subject. Similar attempts to rethink this subject are also occurring in sociology, biology, and philosophy, as well as in the arts. These issues are relevant everywhere, but they are especially pertinent in the Most Basin, which is a unique area with its uncanny combination of its remaining natural niches, a long history of heavy industrial pollution and open cast mining, and recent efforts for environmental recultivation. Participants: Gunnhild Enger, Þórunn Eymundardóttir, Tommy Høvik, Kristín Rúnarsdóttir, Vladimír Turner, Robert Vlasák, Martin Zet. Organisation: Dagmar Šubrtová, Miloš Vojtěchovský, Michal Kindernay. …
Skaftfell Center for Visual Art, located in Seyðisfjörður, plays the essential role of presenting, discoursing and encouraging the development of contemporary art in eastern Iceland. It is a meeting point for artists and locals, and its activities are based on exhibitions and events, alongside an international residency program and outreach program. Skaftfell is also the guardian of a minuscule house previously owned by the local naïve artist Ásgeir Emilsson. In March 2013 Skaftfell received an Icelandic award, Eyrarrósin, for outstanding cultural leadership in a rural area. Skaftfell - Myndlistarmiðstöð Austurlands Center for Visual Art in East Iceland Austurvegur 42 710 Seyðisfjörður, Iceland (+354) 472 1632 firstname.lastname@example.org Forstöðumaður/Director Local Project Manager Tinna Guðmundsdóttir email@example.com Local Project Curator Julia Martin firstname.lastname@example.org Documentarist Lisa Paland email@example.com skaftfell.is/en/skaftfell …
Field Work and Ecology
This expedition through Iceland will lead participants to various locations in the South, East and North of Iceland where the untapped sources of renewable energy – water, steam, and wind – as well as the impacts of hydro- and geothermal power plants on the landscape and on local micro-economies, can be observed. We will visit the largest rockfill dam in Europe, Kárahnjúkar dam, as well as the aluminium factory for which it was built, and the affected river systems. The construction of Kárahnjúkar dam (2003-07), and the political process leading up to it, have been the subject of extreme controversy in Iceland. Under the current government, plans for more hydroelectric mega-dams are under way. They promote an intensified “harvesting” of the country’s large number of free-running rivers and promise cheap "green" energy – with the aim of attracting investors, multinational corporations, and energy-hungry heavy industry to Iceland. Participating artists will meet with experts from other disciplines and will be introduced to the ecological, political and socioeconomic aspects of the sites visited. The program intends to feed into a critical and informed debate about case-specific ecological and socioeconomic co-dependencies, and about the means and ends of renewable energy production and energy consumption. Program 10. Aug: Arrival of artists in Reykjavík/Keflavík Airport Travel by car to Akureyri 11. Aug: Travel along the north coast to Lake Myvatn, geothermal landscapes of Krafla, through the northeast to Dettifoss nad waterfalls Egilsstadir 12 Aug: Afternoon meeting at Skaftfell Center for Visual Art, talk by Markús Þór Andrésson 13 Aug: Visit to Skálanes Nature and Heritage Centre, Seyðisfjörður 14 Aug: Site visit to Reydarfjördur, tour to Alcoa Aluminium Smelter 15 Aug: Site visit to Kárahnjúkar hydroelectric dam in Eastern Highlands 16 Aug: Site visit to Lake Lagarfljót and Heradsflói Estuary 17 Aug: Return to Seyðisfjörður, evening meeting at Skaftfell Project Space, sharing of visual material, observations, thoughts, open to the public 18 Aug: Travel along south coast to Reykjavík, (Jökulsárlón Ice Lagoon, glacial estuaries, geothermal greenhouses Hveragerði Accommodation at SÍM (Association of Icelandic Artists) 19 Aug: talk by Andri Snær Magnason, and evening screening of "Dreamland" movie, based on his book Dreamland, discussion on the planned projects and impressions of the participants 20 Aug Departure day from Reykjavik Participants: Pavel Mrkus, Diana Winklerová, Greg Pope, Ivar Smedstad, Karlotta Blöndal, Finnur Arnar Arnason Organisation: Julia Martin, Tinna Guðmundsdóttir Documentation: Lisa Paland …
Peter Cusack: Lignite Clouds (Sound Workshop)
Locations: Most Basin - Libkovice, Jezeří Chateau, Mariánské Radčice, Osek, Lom u Mostu, Most lake Accommodation: Mariánské Radčice (vicarage) Outline: A two-day workshop focused on the sound environments around the brown coal industry in Most Basin (North Bohemia). We useed both listening and making field recordings. We also used photography and writing to compare the differences between the sound, visual and language perspectives on the area. Day 1: We visited a number of local places to record, photograph and talk to people there. The places include the coal face of a mine where the machines are working, the village of Mariánské Radčice, which in under the thread of disappearance because of mine expansion, Libkovice which has disappeared because of mine expansion, lake created by mining and the chemical site near Litvínov. Day 2: After the visits, we will discuss the material recorded and how they could be used creatively in the future. About sonic journalism: Recent projects of Peter Cusack have explored the practice of “sonic journalism’ -- the audio equivalent of photojournalism. Sonic journalism is based on the idea that valuable information about places and events is revealed through their sounds and that careful listening will give insights different from, but complimentary to, visual images and language. Lecturer: Peter Cusack Participants should bring: a sound recorder, microphone, good shoes, rain coat, and a sleeping bag. Further information: Miloš Vojtěchovský (firstname.lastname@example.org, tel. +420 608 571 881) How to get there: by train to train station Lom u Mostu, or Louka u Mostu, or Litvínov, then by bus (or by walking) to Radčice; the vicarage is next to the church. Max. 15 participants Peter Cusack: Brown Coal & Petrochemical Landscapes - North Bohemia For the last 100 years and still today this part of Bohemia in the Czech Republic has been the country's main energy hub. Beginning with brown coal mining early in the century, the petrochemical industry was introduced during the 2nd world war. Oil brought 100s of kilometers by pipeline is refined here. The effect on the landscape has been dramatic. It is a beautiful area of wooded hills and much remains so today. But around the industries huge changes have taken place; vast opencast pits are are excavated to expose and extract the coal, valleys are filled with the soil removed to create hills that did not exist before, many villages and whole towns are demolished or buried to make way for the expanding mines, churches have been picked up and placed eleswhere, brand new lakes are created in the chasms after the coal has been used up. The whole area is being sculpted around the needs of the energy industry – a process that continues unabated today. However much of the rich history also remains; stunning ancient monastries and castles stand on the edge of the brown coal pits and paths of pilgrimage are re-routed to avoid the encroaching mines. Old villages and the people who live there have no choice but to adapt to the 24/7 drone of machinery. Children grow up with these sights and sounds as their personal legacy. For an outside visitor it can be fascinating, horrific, beautiful and depressing in quick succession. Participants: Tomáš Šenkyřík, Martin Marek, Sonya Darrow, Luboš Svoboda, Lloyd Dunn, Gunhild Enger, Matin Zet, Tommy Hovik, Marcus Held, Kristín Runnsdottir, Thorunn Eymundardottir, Robert Vlasák, Vladimír Turner, Helena Čtyroká (asistence - Michal Kindernay, Dominik Žižka) …